everything starts with clay

Malleable and alive, clay is the only material capable of accommodating the hand gesture and preserving its memory. Its plasticity allows shape to be modelled and, at the same time, to be maintained, transforming it into a stable and durable object. Plasticity“ is the most important characteristic because it is the only material that can be modelled and is capable of retaining shape.

Inspiration

In the laboratory of Liuva Maqueira Gomez, In Umbria, clay becomes a meeting point between territories and cultures. The clay used ideally dialogues with the Umbrian landscape - rich in ceramic tradition and a millenary relationship with the soil - and with the memory of the artist's Cuban origins, where colour, light and matter have always played a central role in the artistic language.Before working, the clay is carefully mixed and compacted to eliminate air bubbles and make it homogeneous, ready for moulding. This apparently technical step is actually a moment of listening to the material, in which the first contact between hand and earth is established.

FOGGIATURA

Forging is the phase in which the shape takes shape. Different techniques are used:

Hand forging, in particular the technique of columbine, one of the oldest, involving the superimposition of manually modelled clay cords. Slab forging, through which clay is spread and assembled to create even complex volumes. Lathe moulding, used for cylindrical or circular shapes, where the continuous rotation of the support dialogues with the control and sensitivity of the hand. Mould casting technique, in which liquid clay is poured into plaster moulds that absorb the water, gradually giving the object thickness and consistency.

Finishing and Baking

After drying, which can take a long time especially for large works, the artefact is finished and sponged by hand. This is followed by the baking, at temperatures varying between 960°C and 1400°C, depending on the clay used. At this stage the material changes state definitively: from fragile it becomes resistant and the earth reveals its natural colouring.

DISPOSAL

Enamelling is a crucial moment in the process. Liuva Maqueira uses different techniques - spraying, dipping or sprinkling - choosing glazes and oxides according to the dialogue they have to establish with the form. The pigments used, often inspired by Umbrian earth tones and the intense colours of the Caribbean tradition, create vibrant surfaces, sometimes textural, sometimes luminous and iridescent. All the glazes used are lead-free and suitable for food use.

DECORATION

The decoration takes place after the enamel has dried and can be done by hand, airbrush or other techniques. Painting on the enamelled surface requires experience and precision: the real colour will only emerge after the final firing. Each intervention is calibrated to respect the balance between form, surface and light.

Many artefacts arise from specific or customised requests, making each creation unique. It is in this continuous dialogue between technique, material, territory and identity that the ceramic language of LJUDESIGN, where the land of Umbria and the chromatic memory of Cuba coexist in a contemporary tale.